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UNITED STATES OF AMERICA. 



AN INTRODUCTION 



J 

VERSE OF TERENCE 



BY 

/ 
H. W. HAYLEY, Ph.D. 

(harvard) 






BOSTON, U.S.A. 

GINN & COMPANY, PUBLISHERS 

1894 






Copyright, 1894, 
By H. W. HAYLEY. 



ALL RIGHTS RESERVED. 




So-845413 



TO 

©rot m. 5- G^ler, 

THE NESTOR OF AMERICAN SCHOLARS, THIS 

LITTLE BOOK IS GRATEFULLY 

DEDICATED. 



PREFACE. 



This little work is intended for the use of college 
students who are reading Terence. Its object is not to 
present any new or original discoveries, but simply to 
state clearly and concisely the facts most important 
for the student of Terentian verse to know. In treating 
of the iambic metres anacrustic schemes have been 
rigidly avoided, as experience has shown the writer that 
unless the student has a knowledge of modern musical 
theory (which cannot be assumed in the case of all), 
they are confusing and misleading. The text followed 
in making citations has been that of Dziatzko (Leipzig, 
Tauchnitz, 1884). I have selected and adapted from 
numerous sources whatever was suited to my purpose, 
and wish to make full and free acknowledgment of my 
indebtedness, especially to the following : Dziatzko's 
excellent introduction to his Phormio (2d ed., 1885), 
on which this work is in great part based ; Spengel's 
introduction to his edition of the Andria (2d ed., 1888); 
Mueller's Plautinische Prosodie ; Klotz's Altromische 
Metrik; Christ's Metrik ; and numerous special works 



VI PREFACE. 

on the versification of Terence, such as those of Conradt, 
Meyer, Spengel, Luchs, Brugmann, and others. I have 
also made free use of the standard Latin grammars. 
One rule (no. 6, sec. 29) is taken from the new edition of 
Professor Gildersleeve's grammar (1894), though I have 
ventured to slightly change the wording. My special 
thanks are due to Professors Smith, Allen, and Howard 
of this university for valuable criticisms and suggestions. 
It is the sincere hope of the author that the little work 
may prove of practical utility to students of Terence. 

H. W. HAYLEY. 

Cambridge, Sept. 29, 1894. 



AN INTRODUCTION TO THE VERSE 
OF TERENCE. 



I. 



i. Before taking up the study of the different metres 
employed by Terence, the student should familiarize 
himself with certain peculiarities of early Latin prosody. 
The most important of these, as they appear in Terence, 
are the following : — 

2. In certain final syllables the original long quantity of 
the vowel is sometimes retained. So in the ending of the 3d 
pers. sing. perf. indie, act., e.g. stetlt, Phor. 9 ; and once in 
the ending of the 3d sing. pres. subj. act. augeat, Ad. 25. 

It is doubtful whether Terence does not sometimes retain final a 
in the nom. and voc. sing, of Greek proper names of the first 
declension ; but there seems to be no certain instance of this. 
Cf. And. 301 ; Heaut. 406, 688, 695 ; Eun. 558, 708; Phor. 179, 
784,830,865,1037; Hec. 243, 325, 830; Ad. 343, 619. Accord- 
ing to Spengel (note on Ad. perioch., 1. 10), the Latin comic 
poets never shorten the nominative ending a in Greek proper 
names of three or more syllables ; but see Dziatzko's note on 
Phor. 830 and the authorities there cited. Spengel also holds 
that an original e is sometimes retained by Terence in the abl. 
sing, ending of the third declension, e.g. virgine dari, Ad. 346 ; 
but this is more than doubtful. See Dziatzko's note ad /or. 



2 AN INTRODUCTION TO 

3. In Terence, as in Tlautus, a syllable ending in a 
short vowel, followed by a mute and 1 or r, is regularly- 
short; i.e. a mute before I ox r does not "make position," 
e.g. patrem, And. 410. 

4. In early Latin final s was very faintly soicnded, 
and hence it often does ?iot " make position" though the 

following word begins with a consonant ; e.g. And. 599 
nullus sum, Phor. 10 magis stetisse, Ad. 706 opus sunt. 

This usage prevailed down to the time of Cicero, and is found 
in his own youthful poems (as well as in Varro and Lucretius, 
and once in Catullus, 116, 8); but in his Orator (161) he 
speaks of it as being already a little out of fashion. 

5. In early Latin until the time of Ennius double 
consonants were not regularly written, and the pro- 
nunciation of words like ille, quippe, etc., seems to have 
fluctuated. Plautus often treats the first syllable of 
these words as short. Terence, who was influenced by 
the reforms of Ennius (see TeuffeFs Hist, of Roman 
Lit., § 93), is more strict, but sometimes shortens the first 
syllable of ille, immo, and quippe. This usually occurs 
in a resolved arsis 1 at the beginning of aft iambic verse; 
e.g. Ad. 72 ille quern, Phor. 936 immo vero. 

6. The m in nempe and omnis, and the n in inde, 
were faintly sounded, a?id at the beginning of an iambic 

1 Throughout this paper the word " arsis " is used to denote 
the weak or unaccented part of the foot, and " thesis " to denote 
the part which has the musical accent. 



THE VERSE OF TERENCE. 3 

verse the first syllable of these words is sometimes short ; 
e.g. Phor. 307 nempe Phdrmionem, Hec. 867 omnia 
dmnes, Phor. 681 inde sumam. 

7. A LONG SYLLABLE, PRECEDED BY A SHORT, IS 
SOMETIMES SHORTENED WHEN THE VERSE-ICTUS IMME- 
DIATELY precedes it (the long syllable) or follows it ; 
i.e. \j — is measured as^v;, The short that precedes 
the long which is to be shortened must be a mono- 
syllable or begin a word. 

Dziatzko distinguishes the following cases in which 
such a shortening may take place : — 

8. (1) In iambic dissyllables : (a) when the verse- 
ictus falls on the first syllable, as And. 255 abi domum, 
Phor. 342 prior bibas, Ad. 198 domo me; (b) when the 
ictus falls on the first syllable of the next word, e.g. 
Phor. 113 enim se, Ad. 618 erat missa. 

There is no doubt that in the case of these words the word- 
accent cooperates with the verse-ictus to produce the shorten- 
ing. The Latin had a strong tendency to shorten the last 
syllable of iambic dissyllables having the word-accent on the 
first syllable. This tendency is seen in modo, puta, bene, 
male, mihi, tibi, sibi, ubi, etc. 

9. (2) In a monosyllable (or word which has become 
such by elision) preceded by a short monosyllable 
(or word which has become monosyllabic by elision) : 
(a) when the verse-ictus falls on the first of the two 
monosyllables, e.g. Phor. 209 quid hie conterimus, 



4 AN INTRODUCTION TO 

Heaut. 1032 cave in te, Ad. 236 quod ad te ; (b) when 
the verse-ictus falls on the syllable that immediately 
follows the second monosyllable, as Phor. 150 et ad 
portitores, Heaut. 1040 et ut serves, Ad. 399 modo 
tit nunc. 

10. In the cases thus far enumerated it makes no 
difference whether the syllable to be shortened is long 
from position or from the natural length of its vowel ; 
but in the following cases only syllables long by position 
are shortened : — 

11. (3) The first syllable of a word of more than one 
syllable preceded by a short monosyllable (or word 
which has become monosyllabic by elision) : (a) when 
the verse-ictus falls on the monosyllable, as Heaut. 
256 sed eccos, Phor. 800 quid istuc, ib. 809 ad 
ipsam ; (b) when it falls on the second syllable of the 
other word, as And. 66 sine invidia, Phor. 143 vel 
occidito. 

12. (4) The second syllable of a polysyllable begin- 
ning with an iambus : (a) when the verse-ictus falls on 
the first syllable of the word, e.g. Heaut. 1025 voluntate ; 
(b) when it falls on the third syllable, as And. 960 
voltiptates. 

This kind of shortening is rare in Terence. According to Spengel 
there are only nine certain instances of it, and one doubtful 
one. 



THE VERSE OF TERENCE. 5 

13. A monosyllable ending with a long vowel or with m 
is sometimes not elided before a following vowel or h, but 
used as a short syllable with the verse-ictus ; e.g. Phor. 2 7 
qui aget, 419 ne agas, 808 quam ego. 

14. Synizesis is very frequent, especially (1) in certain 
words in very common use, like meus, 1 tuus, suus, 
quoius, huius, as And. 210 eius, huius, 843 meo, 487 deos, 
705 dies, 765 quoius; (2) in compounds 2 like antehac, 
proinde, dehinc (always), praeut, etc. 

15. Hiatus is admitted (1) after interjections, e.g. 
Phor. 411 hahahae, homo; (2) when there is a change 
of speakers, e.g. Phor. 146 ; (3) at the end of the fourth 
foot of the iambic septenarius when there is a diaeresis 
after the fourth foot, e.g. Heaut. 688, Hec. 830. 



II. 

16. The versification of Plautus and Terence appears 
careless and irregular when compared with that of the 
poets of the Augustan age ; but nevertheless it conforms 
pretty strictly to certain laws. These laws were soon 

1 Some excellent authorities, notably vSpengel, hold that synizesi.^ 
should be mainly restricted to cases in which a short vowel is subor- 
dinated to a following long one, as in tuis, and that two short voweli 
always retain their dissyllabic measurement. 

2 This is often treated as a species of elision. 



6 AN INTRODUCTION TO 

forgotten ; and even in the time of Cicero the senarins 
(which is the easiest and most common of the metres 
employed by the comic poets), seems to have given 
difficulty (Orator 184). As time went on the difficulty 
increased. The verse of Plautus and Terence came to 
be looked upon as an enigma to which scholars did not 
have the clue. It is only within the present century 
that most of the laws of the early scenic versification 
have been discovered and formulated. Bentley, Gott- 
fried Hermann, Corssen, and others investigated many 
points and cleared away many difficulties ; but by far 
the greatest part of the work was done by Friedrich 
Ritschl and his school. The first thorough and com- 
prehensive treatise on the versification of Plautus was 
the " Plautinische Prosodie" of C. F. W. Mueller, which 
is still one of the best authorities. No equally satisfac- 
tory treatise on the verse of Terence has yet appeared. 
For the more recent literature on the metres and met- 
rical peculiarities of Terence, see TeufTel's Hist, of 
Roman Lit., §111, note 7. 

17. The versification of Terence is smoother and 
more elegant, but weaker and more monotonous, than 
that of Plautus. The earlier poet employs a great variety 
of metres, while Terence, except in three passages (And.. 
481 ff., ib. 625 if., Ad. 610 fL), confines himself exclu- 
sively to iambic and trochaic verse. Terence also con- 
forms somewhat more closely to the Greek metrical 



THE VERSE OF TERENCE. 7 

standards, as might be expected of one who had lived 
amid the scholarly influences of the Scipionic circle. 
But in general the versification of Terence has much the 
same characteristics as that of Plautus. 

18. When the verse of Plautus and Terence is com- 
pared with that of the Greek comedy, it is obvious that 
substituted feet occur more frequently in the former 
than in the latter. This is in part because the early 
Latin poets did not understand, or at any rate did not 
fully imitate, the dipodic structure of the Greek iambic 
and trochaic verse, and hence made little or no differ- 
ence between the odd and even feet. The very names 
senarius, septenarius, and octonarius show that these 
verses were regarded as groups of six, seven, 1 and eight 
separate feet respectively, rather than of three or four 
dipodies {cf. rpifAcrpos, t er paper pos). Accordingly we find, 
for example, that in the iambic trimeter Plautus and 
Terence admit the irrational spondee, apparent dactyl, 
and proceleusmatic in the first five feet ; while the Greek 
comedians (who in their turn are less strict than the 
Greek tragic poets) allow the irrational spondee and 
apparent dactyl only in the odd feet, and scarcely ever 
admit the proceleusmatic. It is the frequency of the 
substitutions that makes the verse of Plautus and Ter- 
ence often seem so harsh and irregular. 

1 I.e. seven complete feet, not reckoning the half-foot. 



S AN INTRODUCTION TO 

19. But in iambic and trochaic verse these substitu- 
tions follow pretty strictly the following law : 'resolved 
arses and theses usually have their first syllable beginning 
a word, or are wholly enclosed within a word. Occasional 
exceptions occur, as And. 23 maledicere malefacta, 
Heaut. 1055 omnia faciam, Ad. 346 virgine dari; but 
these are rare. 

In consequence of this law a dactylic word with the ictus on the 
penult {e.g. corpore) seldom occurs in trochaic and iambic 
verse. So too in a proceleusmatic (w \j kj w) the ictus-syllable 
generally begins a word. 

20. Another law which is generally observed by Ter- 
ence is the so-called "dipodic law" of Meyer, which 
may be stated thus : If the second arsis of an iambic 
dipody, or the first arsis of a trochaic dipody, forms 
together with the following thesis the ending of a word, 
that word-ending must be iambic, not spondaic or ana- 
paestic. Thus, for example, we may have as an iambic 
dipody aliquantulo, ad iudices, and the like ; but not 
si dixissent or ut deciperent. It is clear, therefore, that 
Terence did not treat the odd and even feet exactly alike, 
although he did not make the same difference between 
them that the Greeks did. 



THE VERSE OE TERENCE. 9 

A. — IAMBIC METRES. 

I. — The Iambic Trimeter, or Senarius. 

21. This is the metre most used by Terence. His 
plays contain a little more than six thousand lines, and 
of these more than half are senarii. 

The senarius consists of six iambic feet, or three 
iambic dipodies {i.e. pairs of feet). The iambus is ^ -^. 
As iambic and trochaic lines are measured by dipodies, 
the normal scheme will be 

\j — \ \j — I \j -L \ \j _L I \j -L. I v^_l_ 

The mark of accent is usually placed over the first thesis (or the 
first syllable of it if it is resolved) in each dipody, but not over 
the second. The reason is that the first thesis in each dipody 
had a stronger ictus than the second. Many printed texts 
(like that of Dziatzko) have the accents thus placed in each 
line to guide the student. 

22. The tribrach (y \j ^), the metrical equivalent of the 
iambus (w -^-), is admitted in every foot except the last. 

23. The irrational spondee (>— ), the apparent dac- 
tyl (> \j \j), the shortened 2 anapaest (kju J-), and the 



1 Throughout this work the dot is used to denote a weaker or 
secondary ictus, as in the Greek Grammar of Hadley and Allen. 

2 It has often been stated that the anapaest substituted for an 
iambus is cyclic (\j ^— with the musical notation h Fl ). This 
seems very doubtful. It is more probable that " the two short syl- 
lables were rapidly pronounced in the time of one" (Hadley-Allen 
1089). For want of a better name I have called the anapaest when 
thus used the "shortened " anapaest, to indicate the "correption " 
of the two shorts. 



10 



AN INTRODUCTION TO 



proceleusmatic {y^> \j ^>) are admitted in every foot 
except the last. 

The last foot is always an iambus or a pyrrhic (^ ^) 
treated as an iambus, the last syllable of the line being 
syllaba anceps. 

The main caesura is usually after the arsis of the third 
foot ("penthemimeral caesura"); but it sometimes comes 
after the arsis of the fourth ("hephthemimeral caesura"), 
in which case it is usually accompanied by a caesura 
in, or a diaeresis 1 after, the second foot. 

24. The following scheme shows the possible sub- 
stitutions in each foot : — 



$ 


/ 


> 


— 


d 


/ 


> 


— 


> 


/ 


\J 


\j \j 


\y 


KJ \J 


W 


\J W 


\J 


•^J \J 


\J 


^ \J 1 


> 


\y w 


> 


^ W 


> 


W \J 


> 


\J \J 


> 


\y \y 1 


\~AJ 


— 


VA^ 





\SU 


- 


^A-/ 





\SsJ 


— 1 


\y^y 


\j ^ 


v^\y 


\J \J 


^j\J 


\y KJ 


\JU 


\J \J 


0^ 


v^ \j 1 



25. The following are examples of the senarius : - 
And. 555: amanti(um) ir(ae) amoris integratiost : 



KJ -£- I \J 



V_/ KJ 



This line follows the normal scheme, having no sub- 
stituted feet. The caesura, however, is hephthemi- 
meral. 



1 When a word ends within afoot the break is called a caesura, 
but when the end of the word coincides with the end of the foot it is 
called a diaeresis. 



THE VERSE OE TEREXCE. 11 

And. 164: mala mens, malus animus, quern quid(em) 
ego si sensero = 

, 1 . 1 



\j^j _i_ \^j \j \j 



> \\ -L \ wv/w > . 



This line shows to what an extent substitution is some- 
times carried. It has a shortened anapaest in the first 
foot, a proceleusmatic in the second, irrational spondees 
in the third and fifth, and a tribrach in the fourth. 
The caesura is the ordinary " penthemimeral " one. 

Heaut. 132 : quern pariter ut(i) his decuit aut eti(am) 
amplius 1 = 

> \j \y \ ^y — I > \\ \j ^ \ ^ — I ^^ - I v_l 

This line has apparent dactyls in the first and third 
feet, and a shortened anapaest in the fifth. 

26. As an instance of a connected passage in senarii, 
with the lines divided into feet, the following may serve : — 

Ad. 64 ff. : 

Nimium f|ps(e) est dujrus || prae|ter ae|quomque et | 

bonum, 
et er|rat lon|ge || mea | quidem | senten|tia, 
qu(i) imperi|um cre|dat || gravi|us es|s(e) aut stabijlius 
vi quod I fit, qu(am) il|lud || quod a|miciti|(a) 

adiun|gitur. 

1 In this work the final syllable of each verse will often be 
marked long or short as the rhythm may require, without reference 
to its natural quantity. 



12 AN INTRODUCTION TO 

27. The movement of the iambic trimeter may be 
illustrated by the following lines in English : — 

" The tempest nears us ; darkly rolls the angry sea. 
The thunder mutters ; lightnings leap from cloud 
to cloud." 

28. The senarius is the verse of ordinary narrative 
and dialogue. The so-called diverbia (see 5 2 ) are m 
this metre. 

29* The following points deserve special notice: — 

(1) A monosyllable rarely comes immediately before the caesura. 

(2) The so-called "rule of Porson" (that when the fifth foot is 
cut by a caesura, the syllable before that caesura, if it is not a 
monosyllabic word, is usually short) is not observed by Ter- 
ence ; but the fifth thesis, if resolved, is rarely divided by a 
caesura. 

(3) The proceleusmatic is admitted only when the resolved arsis 
and thesis belong to the same foot. The third syllable, which 
bears the ictus, must begin a word, and the ictus and word- 
accent must coincide. This foot occurs chiefly at the begin- 
ning of a line. 

(4) Substitutions and shortenings are most frequent in the first 
foot. 

(5) An anapaest is not admitted immediately after a dactyl. 

(6) The fifth foot must not be a pure iambus, except (a) when 
the line ends with a word of four or more syllables ; (b) when 
the line ends with a word which forms a cretic ( — w ) ; 

(c) when the line ends with an iambic word preceded by a 
word which is a Fourth Paeon (www ) or by an ana- 
paestic word which itself is preceded by a short final syllable ; 

(d) when a change of person precedes the sixth foot; (e) when 
elision occurs in the fifth or sixth foot. 1 

1 This rule, which embodies in concise form the results of the 



THE VERSE OE TERENCE. 



13 



II. — The Iambic "Tetrameter Catalectic," or 
Septenarius. 

30. This is not strictly a catalectic tetrameter, though 
often so called, but a real septenarius, consisting of 
seven and a half iambic feet. 

Hence it does not end in kj \J_ J_ like the Greek tetrameter, 
but in \j _£_ I M> and the penultimate syllable is sometimes 
resolved. 

31. The irrational spondee, tribrach, apparent dactyl, 
shortened anapaest, and proceleusmatic are admitted in 
any of the complete feet. There is usually a diaeresis 
after the fourth foot, which must then be a pure iambus. 
When this diaeresis is lacking, there is generally a cae- 
sura after the arsis of the fifth foot. The full scheme 
of substitution is as follows : — 



£ J- 1 w _l 


> / 1 > 


w J- \ w _!_ 


w J- 1 


w \j w 1 \j \j \j 


W W W 1 W WW 


w w w 1 W WW 


www 


> \j \j ! > w w 


> W W [ > WW 


> WW > WW 


> W \J 1 


w^ 1 ww 


WW 1 WW 


WW 1 WW 


WW 1 


WW w W ; V_,v_> w w 


WW w w ! WW w w 


WW W W 1 WW w w 


WW w w 1 



When there is a diaeresis after the fourth foot, the verse is 
dicolic, i.e. composed of two separate and quasi-independent 
groups of feet (/ccDXa). Hence hiatus and syllaba anceps some- 
times occur at the end of the fourth foot, and the fifth foot is 
treated with especial freedom, as though it began a line. 



investigations of Luchs (Studemund's Studien, I. 1-75) and others, 
is stated above substantially as in Gildersleeve's Latin Grammar, 
edition of 1894, p. 466. 



14 AN INTRODUCTION TO 

32. The following are examples of the iambic sep- 
tenarius : — 

Phor. 178: is est ipsus. ei timed miser, qu(am) hie 
mini nunc nuntiet rem = 

^j J-\ kj _L I w J- I kj -L- I > 6 \y \ > — I ul|uA 

Heaut. 737: iube maneat. i. quin est parat(um) argen- 
tum. quin ego maneo = 

^w^| w_L I > J- I \J — ■] >JL|>l|_l|^^Ow|>A 

Observe the proceleusmatics in the first and seventh feet. Some 
grammars state (wrongly) that only the tribrach and iambus 
are admitted in the seventh foot ; the apparent dactyl, shortened 
anapaest, and proceleusmatic are sometimes found there. 

33. Compare in English: — 

"A captain bold of Halifax, who lived in country 
quarters." 

The iambic septenarius occurs only in comedy, and 
is used chiefly in lively dialogue. About one-fifteenth 
of Terence is in this metre. 

III. — The Iambic Tetrameter Acatalectic, or 

OCTONARIUS. 

34. This verse consists of four iambic dipodies, or 
eight full iambic feet. The same substitutions as in 
the septenarius are admitted in the first seven feet. 
The last foot is always an iambus (or a pyrrhic measured 
as an iambus, the last syllable being sylL anceps). The 
main caesura is usually after the arsis of the fifth foot. 



THE VERSE OF TERENCE. 



15 



Sometimes, however, there is instead a diaeresis after 
the thesis of the fourth, which foot must then be a pure 
iambus. The scheme of substitutions is as follows : — 



w J- 1 d '-1 


> / I > 


> / 1 > 

w -— | W 


w JL | 


1 
W W W | w W W 


w w w w w w 


W WW W WW 


W WW, 


> w w > w w 


> WW > w w 


> WW > WW 


> w w| 


WW — lww 


WW WW 


ww 1 WW 


WW | 


ww w w ww w w 


WW w w 1 WW w w 


WW w w| WW w w 


WW w w 



35. The following are examples of the octonarius : — 

And. 394-397 : 

patri die vell(e), ut, qudm velit, tibi iiir(e) irasci 

ndn queat. 
nam quod tu speres 'prdpulsabo facile uxor(em) 

his mdribus ; 
dabit ne'm(o)': inveniet mopem potius quam te 

corrumpi sinat. 
sed si t(e) aequ(o) animo fe'rre accipiet, ne'cle- 

gentem feceris = 

> J- I w _L || ww J- I > JL I > X I w J- 

> J- I > - I > II 6 w I > _L I >-i|w_l 
' >Ow I > II J- I > _L I >^-|wJ_ 

>Ow|>||-^|w_^|>^-|wJ_ 



> 



WW 

> 



> _L 

> J_ 

> w w 

> w w 



www 
> -L 



36. Compare in English (if written as one line): — 

" On Linden when the sun was low, all bloodless 
lay the untrodden snow." 

This metre, like the preceding, is used chiefly in lively 
dialogue. A little more than eight hundred lines in 
Terence are iambic octonarii. 



16 AN INTRODUCTION TO 

IV. — Other Iambic Metres. 

37. These are comparatively rare in Terence, and 
occur chiefly in clansulae (see 53)- The most impor- 
tant is the iambic dimeter acatalectic, or quaternarius, 
consisting of two complete iambic dipodies or four iambic 
feet. Terence admits the irrational spondee, tribrach, 
apparent dactyl, and shortened anapaest (but not the 
proceleusmatic) in the first three feet. The last foot 
is always an iambus or a pyrrhic, the last syllable being 
i a?iceps.' The scheme is: — 



\y — — I w — 

u wj I w w w 

> w w J > w w 

WW WW 



WWW 
> W W 
WW 



38. Examples are : — 

And. 240: miseram me quod verb(um) audio = 

ww^-|>_^|>-il|w_L 

Enn. 209: rogitare quasi difficile sit = 

ww — I w w w I >ww|w_I_ 

The catalectic iambic dimeter occurs a few times 
(And. 485, Hec. 731). It is like the preceding, except 
that the last foot is incomplete. 

In Ad. 6io a , if the arrangement adopted by Dziatzko is correct, 
is found a catalectic iambic ternarius (i.e. a verse of two and 
a half iambic feet) with substituted dactyl and tribrach : 
discrucior animi = >^w|www| • The line may, 



THE VERSE OF TERENCE. 17 

however, be regarded as an imitation of the Greek dochmius 

( w _L \j _L), with the first two longs resolved. (See 

Dziatzko's Adelphoe, p. 117.) The following line, 6io b , is an 
iambic quaternarius followed by a syncopated catalectic iambic 
quaternarius 1 : — 

hocine d(e) improviso mali mih(i) obici tantum = 

KJsu^\>—\>—\^—\^>—\^^- — ^ 



B.— TROCHAIC METRES. 

39. Terence does not admit the proceleusmatic (w \j \j ^) 
as a substitute for the trochee (— w), though Plautus some- 
times does. 

I. — The Trochaic Tetrameter Catalectic, or 
Septenarius. 

40. This consists of seven and a half trochaic feet. 
The tribrach (w ^ ^) is admitted in any of the complete 
feet, and the irrational spondee, cyclic dactyl, 2 and 
apparent anapaest (respectively -^- >, -</ w, w \j >) are 
allowed in any of the first six feet. The seventh foot 
is usually a trochee, but a tribrach sometimes occurs 



1 This kind of verse (versus Reizianus) occurs repeatedly in 
Plautus. For other theories as to the nature of the last part of the 
line, see Gildersleeve 822. 

2 It is very doubtful whether the dactyl thus substituted for a 
trochee is really cyclic. I have, however, adhered to the prevailing 
terminology. The two shorts were probably rapidly pronounced in 
the time of one, and if so the foot should be marked _L ^ instead 
of —^ kj. Cf. p. 9, note 2. 



18 



AN INTRODUCTION TO 



there. The principal break in the line is usually a 
diaeresis directly after the fourth foot, which in that 
case must not be a dactyl. Sometimes there is instead 
a diaeresis at the end of the fifth foot, which is usually 
accompanied by another diaeresis after the third foot 
or by a caesura in the fourth. An anapaest is not 
allowed to follow a dactyl. The full scheme of sub- 
stitutions is as follows : — 



J- £| j_ d 



^ 



kj \j \y \\j 









^ 



sj 



>\\j\j > 



— w \J I — <j \J 






<L A 



41. Examples of this metre are: — 

And. 360: paulul(um) obson(i); ipsus tristis ; d(e) mpro- 
viso nuptiae = 



J- KJ \— > 



> X > I - > \J- 



Ad. 5 44-5 4^ : 
quid hoc mal(um) infelicitatis ? nequeo satis decernere, 
nisi me cred(o) huic esse natum rel, ferundis miseriis. 
primus sentio mala nostra, primus rescisc(o) omnia, 
primus porr(o) obniinti(o), aegre solus, si quid fit, fero = 



\j \y w 

\j w > 

-L > 

J- > 



> I ^^|^->||^^>|Ow>| J- ^|^_A 

> I -L kj I _L > || -L sj\ J_ >| vivvUA 
kj J>G w I JL [\j || J- > I -1 > j -L kj I JL A 
>|^w|_L>||-^ >|_L >| -L w 1 _L A 



42. Compare in English : — 



THE VERSE OF TERENCE. 



19 



" Tell me not in mournful numbers, life is but an 
empty dream." 

The trochaic septenarius is more used by Terence 

than any other metre except the iambic trimeter. About 

one-fifth of the total number of lines in his plays are 

trochaic septenarii. This is the ordinary metre of lively 

narrative and dialogue. 

Observe that when the tribrach occurs in trochaic metre it has 
the ictus on the first syllable, but when it occurs in iambic 
metre it has the ictus on the second. 



II. — The Trochaic Tetrameter Acatalectic, or 

OCTONARIUS. 

43. This consists of four complete trochaic dipodies, 
or eight trochaic feet. The tribrach, irrational spondee, 
and irrational anapaest are admitted in any foot, and 
the cyclic dactyl in any but the last. 1 There is usually 
a diaeresis at the end of the fourth foot, and in that 
case the fourth foot must not be a dactyl. Sometimes 
there is instead a caesura in the fourth or fifth foot. 
The scheme of substitutions is as follows : — 



J- <5 


- 5 


\J \J \J 


\J \J \J 


-Ow 


-w 


ww> 


ww> 



-L Z 


- 5 


\y \j \y 


\J \J \J 


-w 


-ww 


ww > 


ww> 



/ > I . > 
\j kj \j I \y \j \y 



v 



w 



t \J > \\J \J > 



\j \j kj I \j \y \y 
— w u|v;v> 

KJKJ >\ 



1 The last syllable of the line is syllaba anceps, so that an ana- 
paest may arise by resolution of the last thesis ; e.g. animi in Phor. 
187; but as the last arsis is never resolved, no dactyl can arise in 
the last foot. 



20 AN INTRODUCTION TO 

44. Examples are : — 

iVd. 160 : Ae'schin(e), audi, ne' t(e) ignarum fufsse dicas 
meorum morum = 

J-^\->\j->\->\\J-v\^>\-L>\_^^ 
Phor. 187-188 : 

Heii me miserum ! quom mihi paveo, t(um) Antipho 

m(e) excriiciat animi : 
Eiiis me miseret, ei nunc time(o), is nunc me retinet; 

n(am) absqu(e) e(o) esset = 

-i> I Ow> I -Cu I Ow> II Jlu I _i > i wv^|Ow> 
X > | G w w | -^->|Gw>||jL>|Gw>| J- kj |_Lw 

45. Compare in English: — 

" Beams of noon, like burning lances, through the 
tree-tops flash and glisten, " 

The trochaic octonarius is comparatively rare in Ter- 
ence. Like the septenarius, it is used in lively dialogue, 
but unlike the former it is a purely lyric metre. See 52. 

III. — Other Trochaic Metres. 

46. The trochaic dimeter catalectic or quaternarius 
is repeatedly used by Terence (e.g. And. 246, Heaut. 178, 
Eun. 747, Phor. 729, Hec. 520, ib. 850, Ad. 158, 524(F), 
616 (?)), generally as a clausula (see 53)- The scheme is 

2- d J J- d -iwl^A 
\j \j \j I \j \j \j 

w \j > I \y \y > 



THE VERSE OF TERENCE. 21 

An example is Phor. 729 : 

Aiit und(e) auxilium petam = 



The trochaic monometer catalectic occurs twice (Eun. 
292, Phor. 485), both times at the beginning of a canticum 
mutatis modis (see $2, note 3). The scheme is 



C — CRETIC AND BACCHIAC VERSES. 

47. Terence uses these only in the Andria. The 
cretic tetrameter acatalectic occurs in And. 626-634. 
The fundamental foot is the cretic (— ^ —), and the line 
consists of four such feet. Either (but not both) of the 
two longs (theses) in each cretic may be resolved, except 
before the caesura or the end of the line. In the first 
and third feet an irrational long may be substituted 
for the short of the arsis. The principal break in the 
line is usually a diaeresis after the second foot, but 
sometimes there is instead a caesura after the first 
thesis of the third. The second thesis of each cretic 
has a weaker ictus than the first, and hence is usually 
written without an accent. The scheme is 



22 AN INTRODUCTION TO 

48. Examples are : — 

And. 627 : lit malis gaiideant atqu(e) ex incommodis = 

-L^—\J-^—\\J->—\-L^ — 

lb. 632 : turn coacti necessario s(e) aperiunt = 

XuJLiZv_l|i.uJ.||uvuJL 

49. The bacchiac tetrameter acatalectic occurs in And. 
481-484 and 637-638. The fundamental foot is the 
bacchlus (yJ--L- ), and the line consists of four such 
feet. Either (or both) of the two longs (theses) in each 
bacchius may be resolved, except before the principal 
break or the end of the line. In the first and third 
feet an irrational long is sometimes substituted for the 
short of the arsis. The caesura is usually after the third 
or fifth thesis. The second thesis of each bacchius has 
a weaker ictus than the first, and hence is often written 
without an accent. The scheme is 

w ww ww I w" || ww I w ww ww I w* ww ^=L 

50. Examples are: — 

And. 484: nunc primum fac ist(a) ut lavet ; post deinde = 

> J- JL I w J- JL I w« -L || jl I w-^JL 
lb. 637: at tamen 'ubi fides?' si roges, nil pudent hic = 



THE VERSE OF TERENCE. II 

D. — OTHER METRES. 

51. A dactylic tetrameter occurs once in Terence : — 
And. 625 : hocine credibile aiit memorabile = 

The metre of Ad. 61 1-6 13 is very doubtful. Dziatzko 
regards v. 611 as a choriambic trimeter followed by an 
iambic monometer catalectic. The choriambus being 
— ww—, the scheme will be 

lit neque quid me faciam nee quid agam certiim sit = 

The following line is similar 1 : — 

membra metu de'bilia sunt ; animus timore = 

— u u J. I — \j \y O I — u \j _L I \j -L \ \j A 

V. 613, according to Dziatzko, is a choriambic trimeter 
followed by a trochaic monometer acatalectic : — 

obstipuit : pectore consistere nil cdnsili quit = 

— uuJ-|— uuJL|— uv;— I — \j I 1 v 

But the passage is differently treated by Spengel and 
others. 

1 As final a in debilia (1. 612) is short by nature, we must assume 
that there is syllaba anceps at the end of the second choriambus. 
See Uziatzko's Adelphoe, p. 107, note. 



24 AN INTRODUCTION TO 



I'll. 



52. A Latin comoedia palliata consisted of diverbia^ 
and cantica. The diverbia were the scenes in iambic 
trimeters, and were spoken without musical accompani- 
ment ; while the cantica were sung or recited to music. 
In some of the Plautus Mss. the diverbia are indicated 
in four plays by the abbreviation DV, and the cantica 
by C. The cantica may be divided into two classes, the 
scenes in trochaic and iambic septenarii 2 and iambic 
octonarii, which were probably recited or intoned to a 
musical accompaniment, 3 and the lyric portions 4 (includ- 
ing the trochaic octonarii), which were sung to a set 
tune. These lyric parts occur only at the beginning of 
a scene. The metres in them change and alternate 
frequently ; but the laws governing these changes are 
not known, except that a trochaic octonarius is always 
followed by another trochaic verse. 

1 The spelling deverbia, which is favored by Dziatzko and Rib- 
beck, but opposed by Ritschl and Buecheler, has the weight of 
Mss. authority on its side ; but diverbia has been more generally 
adopted. 

2 Cf. Cic. Tusc. Disp. I. 107, cum tarn bonos septenarios fundat 
ad tibiam. He is speaking, however, of iambic octonarii. 

3 What the Greeks called TrapaKaraXoyrj was perhaps of this sort. 

4 These are the so-called mutatis modis cantica, which as Donatus 
tells us were indicated by the letters M.M.C. (i.e. mutatis modis 
canticum, or mutantur modi cantici) in the Mss. of his time. 



THE VERSE OF TERENCE. 25 

53. In Terence the first act of a play is always in 
iambic trimeters, and the end of the last act in trochaic 
septenarii. In general, a change in metre is usually 
accompanied by a change of mood or of situation. In 
lyric passages and at the end of stichic series 1 occur 
short lines (called daiisulae), which have the same rhythm 
as the preceding verses, but mark some kind of metrical 
or musical transition. The iambic dimeter acatalectic 
and the catalectic trochaic and iambic dimeter are often 
used in this way. As to the music used in the plays, 
the student should consult the article by Professor 
Howard on the "AvAo?, or Tibia," in the " Harvard 
Studies in Classical Philology," Vol. IV. (1893), especially 
pp. 1-12, 20-30. 

1 I.e. series of verses of the same kind repeated by the line. 



i 



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